The Sleeping Beauty

Classical ballet is surely desperate for a new picture book.  The Australian Ballet’s new The Sleeping Beauty, the first full production choreographed by its long-term artistic director David McAllister, is the company’s fourth version. 

After showing in Melbourne and Perth, it has just opened in Sydney.  And like so many re-workings around the world, this Sleeping Beauty closely honours the original Marius Petipa choreography so acclaimed back in the Tsarist days of 1890. 

Indeed, the McAllister version suggests that, if there’s anything new to say about this fabulous fairy tale, it’s less in any choreographic or storytelling reinvention, than in the stupendously extravagant designs by Gabrielle Tylesova.

Her heavily gilded baroque palace – where the baby Aurora is christened – and the kaleidoscopic mix of costumes for royals, courtiers and visiting fairies are almost indigestibly rich.   Sixteen years later, the colour palette again changes remarkably, when Aurora’s suitors arrive – as well as the avenging black fairy Carabosse (Gillian Revie) and her charge of fabulously tailored rats.  Design novelty aside, much of this act however is frozen into an endless parade of divertissements. 

Some show pieces, like the raspberry and cream courtiers interweaving with garlands, are pleasing; but much choreography here is more sculptural than kinetic.  As Aurora, Lana Jones is a mistress of still beauty on one toe.   The six fairies bearing different gifts are finely differentiated by colour and classical mannerism, and notably led by Amber Scott as the Lilac Fairy.

Once all the palace sleeps and the forest entwines it, Petipa’s green spirits have been imaginatively extended by McAllister as, initially, they keep the moody Prince Desire (Kevin Jackson) at a distance.  

But the Prince finally gets to kiss awake his Princess and and marriage is quickly arranged. 

Act III offers yet more palatial wedding wonders but also another parade of choreographic showpieces.  McAllister has cut some but brings little reinvention to the rest.  Ako Kondo and notably Chenqwu Guo are, however, captivating as the Bluebirds.  Jones and Jackson have fine moments of beautiful athleticism but curiously their lovemaking duets lack feeling. The real star is Tchaikovsky’s sumptuous score with its intricate musical themes and storytelling, and ably conducted by Nicolette Fraillon.

This production is reportedly sold out but, for all its extravagance of budget, it is far less chorographically accomplished or culturally impactful than the company’s recent landmark triple bill, 20;21. But that one’s not a picture book.

Martin Portus 

Photographer: Jeff Busby